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181 - 190 of 235 results for: TAPS

TAPS 284: Empathy Lab (ANTHRO 379, TAPS 384)

This lab-based class examines the ways in which various disciplines and art forms conceive of, and tell stories about, the experiences and stories of others. With permission of instructor.
Last offered: Winter 2015

TAPS 289: Buechner and Wedekind (GERMAN 289)

Modern theatre owes an incalculable debt to two German playwrights: Georg Büchner (1813-1837) and Frank Wedekind (1864-1918). We will read their still-shocking portraits of sex, madness, and social brutality in plays such as Woyzeck and Spring's Awakening, and explore the international journeys these works have made from stage to film and from opera to musical theatre.
Last offered: Winter 2015

TAPS 289A: Interactive Art / Performance Design (ME 289A)

This class is for those who want the experience of designing and creating interactive art and performance pieces for public audiences, using design thinking as the method, and supported by guest speakers, artist studio visits and needfinding trips to music festivals, museums and performances.nnDrawing on the fields of design, art, performance, and engineering, each student will ideate, design, plan and lead a team to build an interactive art and/or performance piece to be showcased to audience of 5000 at the Frost Music and Art Festival held on the Stanford campus on May 17th 2014. Projects can range from interactive art to unconventional set design, and from site-specific sculpture to immersive performance.nnThis is a two-quarter long commitment during which students will first learn the design, planning, story boarding, budgeting, engineering, proposal creation and concept pitching of projects for applying for grants and presenting to funders. The second quarter will concentrate on prototyping, maquette making, testing, team forming, project management, creative leadership, construction, site installation and documentation.nPart one of a two course series: ME 289A&B.
Last offered: Winter 2014

TAPS 289B: Interactive Art / Performance Creation (ME 289B)

This class is the continuation of ME289A where students experience the designing and creating of interactive art and performance pieces for public audiences, using design thinking as the method, and supported by guest speakers, artist studio visits and needfinding trips to music festivals, museums and performances.nnDrawing on the fields of design, art, performance, and engineering, each student will ideate, design, plan and lead a team to build an interactive art and/or performance piece to be showcased to audience of 5000 at the Frost Music and Art Festival held on the Stanford campus on May 17th 2014. Projects can range from interactive art to unconventional set design, and from site-specific sculpture to immersive performance.nnDuring this second quarter students will concentrate on prototyping, maquette making, testing, team forming, project management, creative leadership, construction, site installation and documentation.nPart two of a two course series : ME 289A&B.
Last offered: Spring 2014

TAPS 290: Special Research

Individual project on the work of a playwright, period, or genre.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

TAPS 300A: Critical Styles I

Literary criticism and theory, emphasizing style as evidence of historical, cultural, and ideological concerns. Assumptions about written texts by authors such as Coleridge, Bradley, and Burke. How style reveals context. Students write in the style of authors discussed.
Last offered: Autumn 2013

TAPS 300B: Critical Styles II

This seminar follows on from Critical Styles I in which students were grounded in the rigors of critical writing. In this sequel seminar, the emphasis will be on the overtones and undertones of critical thought in performance making and performance analysis. Students will generate weekly critical and creative responses to readings from contemporary writers and artists such as Jacques Rancière, Amelia Jones, Guillermo Gómez-Peña and Marina Abramovic. Workshop activities and performances will take place alongside seminar discussions of readings.
Last offered: Winter 2013

TAPS 304: Historiography of Theater (TAPS 166H)

Goal is to design an undergraduate theater history class. Standard theater history textbooks, alternative models of theater history scholarship, and critical literature engaging historiography in general.
Last offered: Spring 2013

TAPS 311: Performance, Historiography, and Ethnography

This graduate seminar introduces you to advanced methodologies in two key areas of theatre and performance studies research: historiography and ethnography. The course is divided into two sections. The first concentrates on questions of historiography and the archive as they relate to studies of theater, dance, and performance. We will think about how events have been historicized, how absence has been represented, and how bodies are re-figured and remembered, and we will investigate important principles and best practices of performance documentation and historiography. The second part of the course explores the relationship between performance and ethnography. We will discuss different critical perspectives on ethnographic methods and data gathering, including participant-observation fieldwork and interview techniques. This course purposefully blends theory and practice, connecting philosophical discussions to concrete case studies, field trips, and your own research practices. In this spirit, you will also be encouraged to conduct research and present findings in different modes and media.
Terms: Aut | Units: 4

TAPS 312: The Archive in the Repertoire

This course looks at recent scholarship in theater and performance studies that engages the idea of the "archive." We will also debate questions about historiography. Texts may include work by Joseph Roach, Tracy Davis, Hayden White, Jacques Derrida, Amelia Jones, Rebecca Schneider, Fred Moten, Diana Taylor, Shannon Jackson, Peggy Phelan, Akira Lippit and Susan Foster.
Last offered: Spring 2015
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